This webzine is online since August 2010 and is completely dedicated to Electronic Music (EM) identified as the Berlin School style and its derived. You will find interviews but mostly reviews of ambient, sequenced and symphonic EM with a glimpse on other related genres. You have questions or want your music to be reviewed? Please read the 123 FAQ section attentively. Bear in mind the main purpose of this Blog. So welcome in and I hope it will guide you into the wonderful world of EM.

jeudi 30 mars 2017

“This is a stunning album which crosses those fantastic years of the analog with a contemporary vision. Thumb up to this fascinating story teller which is Bildschirm; a name to keep in mind!”

1 Avarica (Theme from Hackney Aflame 1987) 4:422 The Tower Becomes Visible (From The Hidden Triangle (1983) 8:283 Rainforest Sequence (Over the Forest/Landing/Finding the Wheel) (From The Hidden Triangle 1983) 8:434 Cosmic Time (Theme from Wissenschaftlich 1983-1987) 4:065 Convergent (From Schneebesen 1985) 5:046 Suite Contrabandine (From Contrabandine 1988) 7:457 Solace (From Trost 1986) 5:32Bildschirm Music (DDL 44:23) *****(Analog sequencer-based style)The Bildschirm adventure goes back up as far that on 2005 when John E Thelin, fascinated by names, stories and uncommon music, googled a search to find an unusual name for his duet. He fell on chirm, which would want to say the sound of a crowd. And when he worked on a sleeve image he realized that it was rather a bit of a German name (schirm). And one thing lead to another Bildschirm was born, the perfect name for a German synth duo of the 80's. But that may be also AdrianTóth's pen name, who creates his music on a purple laptop and who is the son of a disgraced Hungarian politician who run away with his trophy-wife in a wild sanctuary in Zimbabwe. Like it can simply be the project of the photographer, the composer, the translator and the entrepreneur John E Thelin, a former Swedish standup comedian and television writer living in Berlin. In fact, who knows! Who knows in a universe where the false news and the false myths are born from the 4 corners of the universe to jump up all over it? But one thing's for sure, and no matter the true of the false, the music of Bildschirm possesses all these attributes which seduce the fan of EM of the Berlin School style and of these wonderful years when our eyebrows frowned of surprise and our ears flowed into the soft madness of the multiple possibilities of the analog synthesizers. And the false from the true is that the music of “Kinologie Vol. 1” is forged in the immense possibilities of the Propellerheads Reason 9. A digital adventure which deceives the ear with its software and analog samplings!Very fat and juicy chords skip from an ear to the other one with a good velocity. Buzzing clouds and layers of very subdued voices infiltrate the jumps of the sequences, while a delicate keyboard spreads an earworm melody which charms with the effects of clacking percussions and of the dense foggy synth layers. On a smooth down-tempo, "Avarica" begins this very first rendezvous with the music of Bildschirm by an approach as honeyed as harmonious. The electronic effects of the former days, as well as the tones of the French School years, are flooding our ears. This is a nice piece of music with a great melody on it. "The Tower Becomes Visible" reveals on the other the darker side of “Kinologie Vol. 1” with a heavy circular approach where the keys always very juicy swirl with their shadows in a intricated figure of rhythm. Sequences advocate the disorder while other percussive tones enrich a structure which does not count anymore its rhythmic additive elements and which stress the pace in the middle. One would believe to hear the big Modular monster of Mark Shreeve. The atmospheres are to inundate us of a theatrical approach of fear while the effects multiply this tension which eats away at us from the inside. Subliminal, a melody roams in the background, making every effort to drag us out from the abimes of a heavy and black music loaded of Arc's perfumes. But in vain! "Rainforest Sequence (Over the Forest/Landing/Finding the Wheel)" is a rather complex but very delicious title which crosses astral atmospheres, always a little bit disturbing, to land in a phase of anarchy rhythm. It's a great mixture of Heldon, Patrick Gauthier and Zanov. It remains a title difficult to tame, to like, but the ghost melody which circulates is of the earworm (another one?) kind. We fall for it before wanting to run away!"Cosmic Time" offers a structure of rhythm more fluid that reminds me Happy the Man because of its liveliness weaved in the tumult. The synth is magic with a vintage presence which reminds me of RobertFripp's guitar. In brief! This is music of Happy the Man mixed to King Crimson's in a veil of intensity! And this flavor of analog which pursues constantly our ears… delicious! Less agitated and less spasmodic, "Convergent" inhales a little the scenery of "Cosmic Time" but with Edgar Froese's perfume in the synth which tries to impose a harmonious tranquility over a rebellion of the sequences which spit organic venoms. "Suite Contrabandine" proposes firstly an ambient rhythm generated by some wide oscillating loops on which are tolling these metallic percussions which have enchanted the ears of the synth-pop fans of the 80's. These metallic jingles thus pepper these long zigzags which shorten little by little their loops in order to install a good swiftness. Effects of percussions and tones, always a bit organic, adorn this rhythmic illusion while a synth, a very Tangerine Dream one by the way, reveals beautiful layers which weave the melodic bottom of "Suite Contrabandine" among which the loops which swirled in a hypnotic way are accentuating their speed in a heavier and more insistent structure. It's another title difficult to tame but which is a real delight for the fans of EM of the 70's -80's years. "Solace" ends “Kinologie Vol. 1” with a more contemporary approach which is fed of the perfumes of Massive Attack over the dead rhythms of Portishead. That gives the hunger to our ears which want more. And if I trust the words of Hans-Reinhardt von Gorleben (sic!), the next gift of music from Bildschirm should be an EP coming out very soon whereas a next album is planned for this coming autumn.By the way, who is Bildschirm? I invite you to read his biographical novel on his Bandcamp page. As for me, I absolutely have to thank Arend Westra from Parallaxe for having put me on the trail of an album so incredible. The aficionados of the analog time of EM should absolutely get “Kinologie Vol. 1”. A no brainer! A must so they say…Sylvain Lupari (March 30th, 2017)

mardi 28 mars 2017

“This explosive soundtrack is probably the last of the great albums from Tangerine Dream”

1 The Park Is Mine Main Title 1:162 Fatal Fall/Funeral 2:163 The Letter (Parts One & Two) 5:184 Taking The Park (Parts One & Two) 8:285 Swatting S.W.A.T. 7:236 Love Theme 3:237 The Helicopter Attack 4:408 Morning 1:209 We're Running Out of Time 1:0110 The Claymore Mine/Stalking 5:2211 The Final Confrontation/The Park Is Yours! 3:3412 Finale/End Credits 6:19Silva Screen SIL 5080-2 (CD 50:20) ****(Explosive sequencer based E-Rock)Initially composed and recorded in 1985, the music of “The Park Is Mine” is heavy and strongly inspired by the sequential torrents which have livened up Poland and The Keep. Doubtless the last vestige of a group in transition, this soundtrack is a real jumble of small masterpieces which underline with great difficulty the peak of a giant band on the downward slope. Chris Franke does quite a whole work at the level of sequences and percussions, creating wild and unbridled rhythms, and others a little less, without limiting the vision of a big one among the big in the field of EM. And as I said it from the beginning, “The Park Is Mine” is heavy. Very heavy even! As long as that seems to be a ChrisFranke's album with a rhythmic structure as lively and misty, from where this heaviness at the level of the atmospheres, which is fastened to a heavy and intriguing bass pulsations as well as to sequences which are dribbling in order to reach at times some vertiginous speeds.Solid attractive rhythms which are watered by the melodious approaches of Schmoelling as well as riffs, layers and impetus from the synths of an Edgar Froese who seems to have to find the pleasure to play the kids on this album. And from the first sequences which run to very fast pace of "The Park Is Mine Main Title" we dive in the periods of Poland, The Keep and Near Darkalbums. A little as in Near Dark and a lot as on The Keep, the ambience is dark, even intriguing, to the size of Tommy LeeJones' screen play who embodies a very weakened soldier. If the short titles put us in the mood with hybrid directions where the rhythm is next to soft harmonies, the long titles are finely polished up. "The Letter (Parts One & Two)" is a superb melody forgotten in the sessions of Le Parc, but with a dark side which binds to the dark and experimental universe of Legend to that more black, but strongly atmospheric, of The Keep. Behind this nightmarish pattern is hiding a splendid Mellotron melody which is of a rarity, and a find, in the repertoire of the Dream. Heavy riffs of a mordant guitar and a sequencer with convulsive chords in a corrosive rock approach, "Taking the Park (Parts One and Two)" is subdivided by multiple rhythmic approaches, a little as if there were several small titles in this segment of 8 minutes. The approach of Franke on the sequencer is superb with these chords which are divided into the halves and forge a field of echo on the haze of a striking guitar from Froese and the strikes of Franke on e-drums. The whole is subtly watered with the nice dreamy chords of Schmoelling s keyboard. A huge title which amazes because of its originality, its meshing of sequences and percussions as well as its complexity, one would say a surreal tempo, just like the very good "The Helicopter Attack" which plunges us into the ultimate universe of Franke's sequencing patterns.Sequences at loss of ear which crisscross and get subdivide, creating this unique tone of TD in the 80's. Ambiguous rhythm on heavy percussions and in moiré synth strata, "Swatting S.W.A.T." swims in the full mysteries of The Keep and Near Dark with a very pre-TD approach (kind of The One) where Edgar's guitar and its psychedelic perfumes get confronted with the heaviness and with the technological vapors of today. Dark and without precise rhythm, we have the impression that the whole thing is going to blow in our face, exactly as the increasing paranoia of Tommy Lee Jones. “The Park Is Mine” isn't just a story of sequences and wild beats which knock together in order to create shifting tempos. There are soft and very melodious moments such as "Love Theme", the short "Morning" and the nice "Finale/End Credits" which is preceded by a honeyed rhythmic intro. But the strength of the album lives in its heavy and strangely unpredictable rhythms which are weaved in dark ambiences while caressing a soft progressive madness, as on "The Claymore Mine/Stalking" and "The Final Confrontation/The Park Is Yours!". Two tracks which describe very well this ambience of confrontation and suspense weaved in very good arrangements and, like always, in a wonderful sequencing play which digs in the ashes and in the artificial echoes of Poland . Magical and very good!As for me, and after soundtracks as empty of passion like we heard in Dead Solid Perfect and Three O'Clock High, “The Park Is Mine” is a find and an album forgotten in this torrent of sound ineptitudes that the Dream laid too often in the 90's. This is a great heavy and rhythmic album where the tempos are going adrift in a night-torpor and are surrounded with an aura of mystery which has as much its place as The Keep, Legend and Near Dark in this anarchic discographic disorder of the world of movie music of the Dream. I easily imagine Chris Franke get bored to death after the departure of Schmoelling. The only one who really knew how to ennoble, due to his sense of melody, the genius work of sequencer of the German percussionistSylvain Lupari (March 28th, 2017)

dimanche 26 mars 2017

“In my comprehension of things, the music of No Further Ahead Than Today is this kind of music that Edgar Froese was looking for after the departures of Schmoelling and Franke”

Melts into Air 6:11Love Grows out of Thin Air 5:27The Magic in You 5:44Thoughtless Motion 5:26No Further Ahead than Today 7:42Wait for Me 5:10New Day Starts at Dawn 5:27Negative Sunrise 4:31Illusory Sun 5:12Scripted Realities | SCREALCD002 (CD 50:49) ****¼(Mélodious E-Rock)That’s what I call a contagious album! An album which sticks quietly to the bottom of our eardrums with this constant desire to listen again to it. An album which listens to it everywhere, no matter the hour and the humors. And nevertheless! And nevertheless, the music of “No Further Ahead Than Today” is not inevitably the one which seduces me rather easily. It’s amplified by a swarm of synth multilayers to which are grafted an avalanche of effects, sequences and electronic percussions. But there are these melodies! Finely polished up, they crush this impression of the massive immersion of electronic rock between our ears. There are also these nuances! Ulrich Schnauss is not born yesterday and he masters to perfection this art of enhance the strength by adding elements of harmonies and/or changing beats which always fascinate the listening. Between Jean Michel Jarre and the music of Jerome Froese, “No Further Ahead Than Today” breathes of this Tangerine Dream post-Franke approach but with more passion in it and with a vision redefined for the rhythms, the sequencing is absolutely fascinating on some tracks, and the melodies which have so more souls without forgetting the superb arrangements. It isn’t thus by chance that Ulrich Schnauss was invited to join the mythical German group in 2014. Dedicated to the memory of Edgar Froese, “No Further Ahead Than Today” is soaked with this cachet of the Dream and possesses all the attributes of the old Silver Fox’s last visions.A glimmer came from the horizons spreads its multiple layers of colors before springing with all its magnificence. It’s with the basic idea of "Melts into Air" which begins the music, like a sonic sunrise. Early, the electronic percussions fall to structure a good rock, slightly animated, to tints of Jazz when the synth blows its harmonious colors. It’s a start which reminds me of Jerome Froese (A Mellow Morning) but in a structure which is closer of the kind of Easy Listening rock. The kind of TD in the Turn of the Tides/Tyranny of Beauty adventure with a synth full of saxophone fragrances. Easy Listening!? Not so fast! Let’s drop the easy prejudices because the music is knotted intensely around multiple multi-layers of synth enhanced of thoughtful contrasts, of riffs and notes of a guitar lost in this sonic wild world, of harmonies and their shadows as well as percussions which drink around an addictive bass line. And the more the title moves forward and the more it becomes heavy and intense. This is one the many peculiarities of “No Further Ahead Than Today”; the way Ulrich Schnauss intensifies his structures, so much in the rhythms, the effects and the harmonies, which makes our arms' hairs trolling for air. "Love Grows out of Thin Air" is a very interesting title. On a structure slow and filled of sound steroids, the rhythm is surrounded of shining spirals of arpeggios, foggy voices and of a scenic decoration as ethereal as unreal. The percussions and the modulations of the sequences add a small psy color to the title. "The Magic in You" is a good mixture of synth-pop, and its glitter of the 90’s, and of electronic rock as fiery as these sessions of Jerome Froese's Guitartronica. A voice sings a tune on a very rock structure which shows good disguises and good effects. Our ears don’t have sufficient capacity of assimilation. And it’s the kind of thing that feeds them of sound novelties at every new listening. Easy Listening? Nah…Rainy cracklings, an ascending sound wave, effects, and technoïd beat which feeds on the curvatures of a bass line; the intro of "Thoughtless Motion" is an excellent indicator of the sound wealth of “No Further Ahead Than Today” Percussive chirpings, which gives an organic effect, gurglings and ethereal voices are inviting each other in this collection of tones, while the rhythm goes in transit between sloppy mood, rock and waltzes of ether. It’s in the similar decoration that the title-track floods our ears of a delicious and too timid ballad to stay as it is. The approach of ballad is transformed for a kind of electronic Grunge where crystal clear arpeggios reminds to us the point of origin of "No Further Ahead than Today" which turns out to be a good mixture between "Melts into Air" and "The Magic in You". Rich in its multilayers of synth which clear a good cloud of sound effects, "Wait for Me" is a pure heavy and inviting electronic rock. "New Day Starts at Dawn" is the most electronic title of this album. Undefinable, the structure dreams up between ambient livened up of a harmonious heaviness while the sequences and the percussions swirl in spiral without ever taking off towards the top. There is a delicate flavor of the medieval years here with a beautiful effect of harpsichord which is very subdued behind this wall of effects and of static rhythm. It’s a little the same pattern for "Negative Sunrise" which reveals the cinematographic standards of a dramatic movie. The effects of percussions add a tint of surrealism with rustles of rattlers. This very attractive to the ears! And "Illusory Sun" is even more. Knowing how to structure his abilities in studio, Ulrich Schnauss ends “No Further Ahead Than Today” with a title a little less dark than both last ones and which reinvents itself in the electronic approaches of rock that we found in "Thoughtless Motion" and "Melts into Air". Yes! A very good album which deserves to bring down the barriers of the snobbery between this kind and the EM of the Berlin School style … Although Ulrich Schnauss is not really too much far from these roots. I always thought that was the kind of music that Edgar Froese looked for after the departures of Schmoelling and Franke. And I say to myself that Edgar and Jerome Froese with Ulrich Schnauss would quite have been a bombastic hit!Sylvain Lupari (March 27th, 2017)

vendredi 24 mars 2017

“Sequenced Feelings” leads to predict the hatching of a beautiful artist who leaves us all the same a bit perplexed in front of his too long structures”

Sequenced Feelings-Part I| 29:32Sequenced Feelings-Part II| 25:45Sequenced Feelings-Part III| 13:19Nord Music(DDL 68:36)***(Floating and sequencer-based style with scents of Jarre and Software)Here is an album which was lost under the mass of albums that I receive, both in physical CD and in virtual ones, and which it pleased me to dig up beneath the pile of digital files. It's within the framework of the chronicle about the album Rings of Fire that I recalled that I had another album of Nord somewhere. I eventually found this “Sequenced Feelings” and I let myself seduced while reminding to me that there is a gap from more than 2 years between this 12th album of Nord and his gigantic Pendulum.Some cold chirpings of arcade games nuanced with a warm line of sequences and of its hypnotic minimalist spheroidal movement, "Sequenced Feelings-Part I" seizes our sense of hearing with all the charms, still unknown, of Nord. Synth layers, perfumed of Vangelis scents, overfly the movement, like a lighthouse watches waters at night, whereas another line of sequence staggers in a delicate spasmodic movement. The union of these two lines, as well as the addition of another line as harmonious as evanescent, reminds us the influence of Software on the music of Nord. Percussive jingles decorate this spherical structure that some percussions lead to a level of techno for zombies marinated in the smells of grass. And we fly in these structures of cybernetic rhythms built by Software of the Chip-Meditation times when the rhythm accentuates its presence with a good meshing of sequences which bind themselves to the new velocity of the sequences movement which always tinkle of a harmonious air. The noises of arcade games get back to bring back "Sequenced Feelings-Part I" in its cocoon of atmospheres which watch for a possible sonic hatching. Buzzing strands escape like a big snake which crawl in a sound dew always soaked with a drizzle of prisms while layers of synth fly away and float as in a slow ballet for aircrafts. This ambiospherical moment lasts more or less 9 minutes. And when the rhythm gets reborn again, it grafts a spasmodic structure to these ambient braids. The sober percussions and the keen oscillations of the bass sequences won’t relaunch in a definitive way the rhythm of the finale of "Sequenced Feelings-Part I" which slumbers slowly on a bubbling movement always under the threshold of the endorphin. It’s this finale which influences the structure of "Sequenced Feelings-Part II" which pounds constantly under larvas of synth and of the short attempts of dreamy solos formed by nervous fingers. What is charming here are these percussions of rattlers type which go and come on this structure of which the perfumes of a vague psychedelic movement are roaming in the atmospheres. The finale is clearly more cheerful than that of "Sequenced Feelings-Part II" and each of both titles suffer from lengths. But we feel that the talent is there! Shorter and clearly more incisive and also more attractive to the ears, "Sequenced Feelings-Part III" always offers this spheroidal approach which lives on a beautiful meshing of percussions and those crisscrossed sequences lines. Acute ringings skip from an ear to another, from a loudspeaker to the other one, while leaving a sound trail between its passages. This static movement, which can be described as jumps of hares on an earth of fire, arrives at the door of 3 minutes with jerky pulsations which weaken their resonances on a new bed of sequences and its keys which glitter in a motionless ornament. Sequences, pulsations and percussions! Everything is in position for a structure of rhythm inviting for the fingers and charming for the ears with these crystalline layers and these breaths of synths under forms of solos which add colors to this minimalist approach which will become clearly more lively in its 2nd phase. A very good title in the repertoire of Nord!Two and a half years later and 6 albums farther, Nord has earned an enviable reputation in the EM planet of the floating style. At its time of release, one would has said that “Sequenced Feelings” leads to predict the hatching of a beautiful artist who leaves us all the same a bit perplexed in front of his too long structures of which the lack of nuances erodes the minimalist effect. There is good moments, as others slightly too long. And the talent is there! It will find our ears with a couple of albums always a little bit uneven but which gradually will bring us to wonderful albums, such as Mare Nubium, Pendulum and, lately, Rings of Fire. For fans of Jarre and Software. Even Schulze and Vangelis!Sylvain Lupari (March 24th, 2017)

mardi 21 mars 2017

“Always soaked of influences of some of the greater names in EM, the music of Rings of Fire is among the best in the repertoire of the Roumanian synth wizard”

1 Ring I 13:542 Ignition 7:093 Ring II 7:354 The Scorpion 7:285 Ring III 11:386 About Life 6:26Nord Music(DDL 54:14)****(Retro cosmic E-Rock a la Jarre)A sequence! Its echo and its shadows which gallop a short moment guide the introduction of "Ring I" in a sort of fragrances which float like the vapors of a Jazz and of a Lounge ambient. Always in evolutionary mode, the music of Sztakics István Attila always arouses a curiosity which is transformed into an enthusiasm as soon as that Nord makes hear its charms. The first 2 minutes of "Ring I" are tinged by a melancholic approach as intimate as a piano-man in a Bar who floods our conversations misted by alcohol of a nostalgic envelope. A pulsating line presses the melancholy to get converted in approach a little more in the style of ambient progressive rock, as this impeccable work of Rick Wright in the Animals album. In spite of this line, the ambiences, weaved in good floating layers and of a seraphic choir, smother this deaf rhythm which continues to beat until this pulsatory line frees a twin. These two lines which beat at the door of the 6 minutes hunt these moods with a good French School approach where the rhythm gets adrift in a cosmos decorated with good synth solos. The percussions arrive in order to boost a little this approach which always remains a bit floating and where the solos sing and spin on a beautiful carpet of layers soaked of these delicious astral waves.Contrary to Pendulum, which contained good some nice electronic hymns fit to be heard on FM radios, Nord offers here an album which will ask more than a listening to satisfy those who have savored this album. In the other hand, the fans from the very beginning will be on familiar ground because “Rings of Fire” dives back into these more intimate and more fragile ambiences where the essences get dissolve in order to crystallize in those very nice evolutionary structures. "Ignition" is not really difficult to tame. Its introduction is more funeral and nibbles the same seconds at the meter than "Ring I". This opening is set ablaze by other beautiful solos which coo with acuteness on a line of sequences of which the lost keys seem to draw a first approach without backbone. These solos float in a very Schulze atmosphere for the first 120 seconds. The rhythm which follows always stay rather docile in its envelope of standstill, leaving all the place for solos and cosmic sound effects of the French School movement. The pulsations get more and more pressing and the ambiences get smother in this very dense sonic veil. These moods explode around the 3 minutes, letting escape a line of lively and pulsatory sequences as well as good electronic percussions. Conquered we are! The melody settles down a short time later. A poignant melody which sings in an intense atmosphere where the sequences skip like a herd of fleas on a blazing fire and the percussions explode in the thunders of the big boxes and of their dramatic influences. This is a superb 2nd part, but not as much as that of "Ring III" which is the highlight of “Rings of Fire” in my humble opinion. "Ring II" follows the same bases that Nord presents on this album with an introduction heavy of its ambiences always soaked into essences of the cosmos and with its 2nd part which explodes of a rhythm sometimes stationary, like here, and sometimes explosive like in "Ring III". "The Scorpion" borrow a more or less futuristic bend with feminine voices which recite sentences in English to the strong Germanic flavors in a sound veil filled up with special effects. The solos float, as well as bass pulsations and lines of sequences there which try to weld a rhythm which will succeed when it stays hardly 2 minutes in the meter. "About Life" is the answer to "The Scorpion"! Except that here the voice is a male one and that the ambiences gather themselves on a line of sequence which goes up and goes down in a shroud dramatic sound effects. The solos of synth are more harmonious there, as well as the line of sequence which weaves a pretty nice hypnotic movement. Percussions give more of biting to a structure which suddenly caresses the minimalist charms of Indra. And always this synth and its beautiful solos which come to the rescue of a rhythm became more ambient. Solos which are at the heart of an album where the ambient moods are passing in transit between the music of Jean Michel Jarre and Klaus Schulze, the vintage periods, and Indra, for the minimalist hymns. A little less strong than Pendulum, it’s true that the bar was very high, “Rings of Fire” remains a solid album of Nord and an album pleasant to listen to, the ears well wrapped in a headset. That’s EM my friends!Sylvain Lupari (March 21, 2017)

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Qui suis-je

Bonjour!
My name is Sylvain Lupari from Joliette in Quebec (Canada). I’m known as Phaedream all over the Internet since the beginning of 2000 where I started to write reviews. In 2005, I joined the French Webzine Guts of Darkness and on August 2010 I created a Blog, Synth & Sequences, which has reached the point of 1 000,000 visitors on February 2017 where I also wrote my 1354th review. In French and in English, I wrote more than reviews of EM albums.
This Blog is a huge success and reference about the music which sets my mind free over the years. Too many chronicles, so I have to split this Blog in several sections. Robert Schroeder is the first to welcome my thoughts on Webpress.
So, welcome to this part of my Blog Synth&Sequences which is devoted to the music, the tones and sounds of Aachen’s own Robert Schroeder.
Here you will find informations about his career and discography and latest news as well as deep reviews about his music, his albums.
My only wish is to guide you through his impressive career and may I suggest to visit regularly my Blog Synth & Sequences for more updates on EM.